;_^ ^^^^^_ OD AND OTHErt >NE-ACT PLAYS PERCIVAL WILDE Digitized by the Internet Arciiive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/dawnwithnoblelorOOwilduoft 1 ^ tK.JiU'-^TI v^) DAWN WITH THE NOBLE LORD, THE TRAITOR, A HOUSE OF CARDS, PLAYING WITH FIRE, THE FINGER OF GOD Om-Ja Piajs f/" Lift TV-i^ BY PERCIVAL WILDE NEW YORK HENRY HOLT AND COMPANY 1915 CorTKIOHT. I0I4. 1018. •Y PERCIVAL L. WILDE. At! rights reserved, inetuding thai of tremstatum into foreign languages. Dawn. Copyright. 1914. by The John Adams Thayer Corporation. The Noblb Lokd and Playing with Fike. Copyright, 1914. The Puck Publishing Corporation. by These plays in their printed form are designed for the reading public only. All dramatic rights in them arc fully protected by copyright in the United States and Great Britain, and no performance — professional or amateur— or public reading, may be given without the written permission of the author and the payment of royalty. Communications may be addressed to the author, care of Henry Holt and Company, 34 West 33d Street, New York City. ^ TNC OUINM « MMN CO. MU« Co MY MOTHER ACKNOWLEDGMENTS To Sir Arthur Conin Doyle, whoce tcory, ** How Ic Happened," suggested an ending for ''Dawn." To The John Adanu Thayer Corporation, for pennisaion to reprint material. To The Puck Publishing Corporation, for permission to reprint material. To Roland Holt, for valuable assistance m the prepara> tion of this volume. CONTENTS rAos Daww . I Thi Nobli Lord 37 Tmi TtAiTOft 71 A Houti OP Cards ... • ^9 Plating with Firi 109 Thi Fincir or God 141 DAWN A DRAMA CHARACTERS Thb Doctor. The Woman. The Man. A Child. PLACE A mining district, TIME A Winter morning, just before dawn. DAWN y^ ROUGH shack, one storey in heiiht. At the Aw rear is the maiii door, Mted. To the left ^ '^ of the door, a window, through which fail* ing snow can he seen. Another door, at the right, leads into the steeping room. A stove, against the right wall, and a cupboard near it, are the principal objects of interest. There are two or three rickety chairs, and a deal table covered with a soiled red cloth, A scrap of dilapidated carpet conceals part of the floor. This, and a cheap chromo on the left wall, are the only attempts at ornamentation. At the rise of the curtain the woman, Molly, is discovered, sitting at the window. There is very little tight outside, and she has a burning kerosene lamp next to her. She is under thirty, and shabbily dressed. Suddenly she starts, rises. There is a knock at the door. Doctor (Outside) Let me in. Woman (With great nervousness) Why did you come here, Doctor? I told yoiM|Ot to come here. ^' 4 DAWN Doctor Let mc in, Molly. Woman You must go away. Please go away, Doctor. . . . Doctor (Interrupting. A quiet, commanding voice) Open the door, Molly. . . . Quick, it's cold out here. Woman (Opening the door) I told you not to come here, Doctor. Doctor (Entering. A man of thirty- five; heavily, but well clothed) Don't talk about that. I'm half frozen. Woman (Crossing to stove) I'll stir up the fire a little. Doctor (Following over; warming his hands) Thanks, DAWN S Woman I asked you not to come here, Doctor. You don't know what a risk you're running. If he mw you here now, he — be might kill you. Doctor Tliat makes it interesting. Woman Tm serious. Doctor. He was talking about you only the other night; he hates you. Doctor Yes. It's a nice husband you've got. Woman You're in danger — in real danger. Doctor I've been in danger before. Woman (Shakinf her head, unable to continue, i uts her hands on his coat, weeping) Doctor! Doctor 1 Doctor It's all right, Molly. It's all right. I'm not going to let him hurt you. 6 DAWN Woman I'm not thinking of myself. Doctor I knour that. But / am. (Noticing her arm) What's this here? Woman (Trying to pull her arm away) Nothing. Nothing at all. Doctor Nothing? (Pushing up the sleeve, looking at her. She drops her eyes.) Nothing? Woman It's a bum. Doctor So I sec. Dick has been up to his old tricks again. Woman He had a little too much to drink, Doctor. Doctor How did it happen? Woman He didn't know what he was doing. DAWN 7 Doctor Let fiif judsr, won't you? How did it happen? WOMAM Well, it wit Tuefdfty night DocTOft After I hid left? WOMAK Yet. He came in a little later. He had been drink- ing— and he wat angry. You know, drink excites him terribly. And he told me to pull off his boots — and — and I suppose I wat slow about it, so so Doctor So? Woman Oh, what's the use? It's over now. Doctor He took the poker, I should say, and he heated Woman Not very hot. Doctor As you say. He heated the poker, not very hot, and then he beat you with it, to make you a little quicker next time, eh? 8 DAWN Woman He didn't hit mc hard. Doctor No. I could sec that. {Crossing to her, and roughly passing his hand along her back.) Woman Oh! {An involuntary cry of pain.) Doctor Clever beast! Where it wouldn't show! Woman It's over now, Doctor. Doctor Yes. Then, when the poker was cold, I suppose he kicked you. Did he? Woman Yes. Doctor Where? Woman (Indicating abdomen) Here. DAWN 9 Doctor Nice, thoughtful fellow — your husband. Woman (Breaking into sobs) He — he doesn't want roc to— to have any more chil- dren, Doctor. Doctor (Slowly) Yes. (A pause.) Is he home? (The Woman shakes her head.) When did he go? LAst night. Woman WithConoUy? Doctor YesL Woman And Holrman? Doctor Woman Yes. He had something to attend to. Doctor Something to attend to? lO DAWN Woman Yes. The three of them went together. Doctor He didn't by any chance mention the Esmeralda? Woman The Esmeralda? Doctor The Esmeralda mine? Woman He said it needed fixing. Doctor I thougjit so. Woman Why, what do you mean, Doctor? Doctor Nothing. Woman (Alarmed) What do you mean ? Doctor Would you be very much surprised if I told you that the Esmeralda was blown up at midnight? DAWN SI Good God! Woman Doctor There were four i men killed. And Dick! Woman Doctor Oh, Dick wasn't care of his skin 1 touched! He took precious eood Dick escaped! Woman Doctor Escaped nothing! He was the man who blew up the mine! Woman (A hni-drawn Oh! of horror.) Doctor He ran no risk. There was clockwork, and he wis a mile away when it blew up. Woman But Dick, that Dick should do such a thing! I don't believe he did it, Doctor! I don't believe it I You don't think so, do you? (The Doctor slowlf pulls an object from his pocket.) What's that? 12 DAWN Doctor That is part of a dry battery. Woman Well? Doctor The number is still on the bottom. Wainwright is pretty sure the manufacturers can identify it. Woman Wainwright ? Doctor We roused him up. He thinks he sold it to Dick a week ago. Woman (Breathlessly) Well? Doctor It's funny that I found it at the Esmeralda! Woman At the Esmeralda ? Doctor (Nod fling) Just after the explosion. DAWN 13 Woman (Breaking into sobs, and burying her face on the Doc- tor's Up.) Doctor, don't tell mc any morel I don't want to knowl I don't want to know! Doctor {Stroking her head, and replacing battery in pocket) It wu bad enough without this, wasn't it? And you've stuck to him through it all! You women! (Pause) Even after hr killed Maggie? Woman Don't say that, Doctor. Doctor It wasn't legal murder — he didn't do it all at once. It took him more than a year. A child can't stand what a grown woman can. (He pauses*) How old was she? Woman She would have been ten this month. . . . (The Doctor shakes his head in silent sympathy.) She was such a pretty child. Seel (She pulls a cheap locket from her bosom, and opens it, Thrre is a pause,) Doctor He beat her, too? 14 DAWN Woman YesL Doctor With the poker? (The Woman nods.) Heated — not very hot ? Woman Oh, I tried to stop him, Doctor, but I couldn't do anything. Doctor I know that. (He rises.) And this brute, this devil, is the man you are living with ! Woman Doctor I Doctor Yes, you're right. Words don't do any good. Woman He won't do it again. I'm sure. Doctor So am I! Woman What do you mean? DAWN 15 Doctor (fFketlimg Mkrupttf) Get your things MoUy. Woman My thingi! Doctor Your wrtpt — plenty of them — it't cold outside. Woman But I'm not going out Doctor You're coming with me. Woman (Frightened) Doctor! Doctor I couldn't stop him from killing Maggie, but he won't lay a hand on you again 1 Woman Doctor! I can't do it! Doctor You're not safe here. l6 DAWN Woman Doctor! He's my husband! Doctor I don't care who he is! You're coming with me! {Half leads, half pulls her towards the next rcom, talking. The Woman resists feebly, exclaiming No, Doctor! No!) I'm going to put you to bed for a week, and I'm going to make a well woman out of you. And then we'll find some work you can do — some light, easy work, and you won't know yourself (A heavy thump at the door.) Woman There's Dick ! Doctor, if he finds you here . . . ! Lemme in! Dick? Man {Outside) Doctor Woman I expected him back before this. Man Open up! Come on, open up! Woman For Heaven's sake! DAWN 17 DOCTOA ( Quietly drawing a revolver) Open the door. {He goes to extreme left. The Wo24AN opens the door. The Man pushes in so sud- denly that he almost upsets her,) Mas (Huge, uncouth, brutal) Wiitin* up fcr roe? Woman Yes. DicL Man Like a iun\ dVoted wife, eh? (Crossing to stove,) Glad ter see me, ain't ye? Woman Yes, DicL Man Ye better be. (Flings off his coat. Sits, Sticks out his feet. She does not see.) Well! Git a move on! (She runs over and tries to remove his boots.) Come on! G)me on! (J pemse,) God, you're clumsy! (Pushing her away. Trying to remove his boots himself,) I'll have ter learn ye — like last time, ril learn ye, all right! I'll learn ye! (He catches i8 DAWN sight of the Doctor. Springs up furiously.) You? What arc you doin' here? (Thf Doctor does not answer,) Don't stand there gapin* like a damned fool! What arc yc doin* here ? Doctor Looking around. Man Looking around ? Doctor Yes. Man Well, see anything ye like. Doctor Thanks. Man An' get out. Doctor I'm going to. Man (Impatiently) WcU? Doctor I'm going to take Molly with me. DAWN 19 Mam Yer ffoin' ter take Molly with yt} Oh, hoi That'i richl ( Hf houses.) In love with her? DoCTOft Na Mam WcU? DocToa She doesn't belong here. Man Don't belong here? Goin' ter take her with jre? Goin' ter come between man an' wife, till death do us part? An* what'll / be doin'? Doctor I don't care. Man But / do. (Throivinf an arm roufhlf around the Woman's waist.) She suys here! See? Doctor You needn't argue. Man I ain't goin' ter. (Jpproachinf the Doctor.) But I'm goin' ter give ye the damndest lickin' ye ever ao DAWN had before ye get out o' here! (Seizing poker.) I'm goin* ter mess up that pretty face o* yer fer ye I Doctor (Leveling revolver) Stop! Man Eh? He's got his artillery with him! Doctor Yes. I knew where I was going. Man Well, shoot an* be damned ter ye! Garn! Shoot! Shoot an unarmed man! Doctor Sit down. Man Eh? Doctor Sit down. Man Oh, ho! Orderin* me around in my own Doctor (Interrupting furiously) IVe heard just about enough from you. Now sit down! (Dick slouches to a chair; sits. During the DAWN 21 following dialogue he slowly rocks the chair hack forth, gradually, and almost imperceptibly movimg it to tki extreme right, next to the cupboard,) I'm not B»* ine to call you names. There's nothing in the Eng- lish language bad enough for you, and you wouldn't care what I called you. But I'm going to tell you what I'm going to do to you. Man (Leaning hack; drawling) Yei? Doctor You killed your daughter. Woman (Interrupting) Doctor 1 Doctor (Silencing her with a gesture) If I'd a had my way, they'd a hung you for it! But I got here too late: I couldn't prove that she died as a result of what^-of what you did to her. And we've got to give even such curs as you the benefit of the doubt. Man She was always sickly. M DAWN Doctor So jrou helped her by beating her with a pok red hot. Man Well, Maggie was my daughter. Doctor God rest her soul! Woman Amen I Doctor Your wife is sickly, too, I suppose? Man Runs in the family. Doctor So you are treating her in the same way you treated Maggie? Man Is it any of your business how I treat her? Doctor Yes, It is. Man Wdl, I say it isn*t. DAWN Doctor (Leveiing the revolvtr agmn) And I wty it it! Oh! Doctor That IS why I'm gping to take Molly iwiy with mc. Man (After a pause) Tint all ye sot to tiy? Doctor No, it iin't Man Well, go on. Tm listenin*. Doctor There was an explosion in thr» King Edward mine three months ago. Man Yci? Doctor Nobody was hurt. I 24 DAWN Man Lord be praised! Doctor There was another explosion in the same mine a few weeks later. That time a dozen men were blown to pieces. Man What's this? A sermon? (By this time he has reached the cupboard; he bends slowly, and unobserved takes from it a milk bottle half full of liquid.) Doctor There were a good many more explosions after that. Then, last night Man (Watching him from the corner of his eye, and speaking casually) Last night? Doctor The Esmeralda was blown up. Man (Balancing the bottle on his knees) Ye don't mean it! DAWN 35 Woman Vou didn't have anything to do with it, Dick, did you? {Thr Man puihn her auiaf,) Doctor ConoUy has been arrested already. Man Yet? Doctor His body \% hanging from a tree down the road. Man Without a trial? Doctor There was no time for any. Now they're after Holsman. He left to>vn early, but they'll get him. They've telegraphed ahead. (A pause.) And I've got youl Woman Dick, Dick, say you didn't do it! Man Ah, go way. Wliat's the evidence. Doc? » 26 DAWN Doctor (Showing fragment of battery) This. Man What is it? Doctor Part of the battery you bought at Wainwright*s. Man Did he identify it? Doctor Not positively. He doesn't keep a record of the numbers. He's writing to the factory. Man That all the evidence against me? Doctor Yes. It's a little thing, Dick, but it's enough to hang you. Man The number on the bottom of the battery? Doctor Yes. I DAWN a; Man (Rising iazHf) Wdl, toitch it 00. DocTOft Eh? Man Scratch it of!, I said. Doctor Do you think I'm crazy? Man Do you think I'm crazy? ( Towards center,) Doctor {ff^ith revolver) Stay where you are I Man (Raising milk bottle) Don't make me laugh! (Pause,) D'ye see this? (Wavini the bottle,) Half a quart o' oitro-glycenne! Half a quart I Doctor What? a8 DAWN Woman (Going towards him) Dick I Man {Turning on her brutally) Keep away from me I (Turns to Doctor.) If ye shoot, I'll drop this — an' it's mighty pertikler where it lands. Or if ye don't shoot, mebbe I'll drop it any- how. It took only this much to fix the Esmeralda. Doctor So you did it! Woman Dick, you! Man Of course. , , , (As Doctor approaches.) Go easy. I'm not lookin* fer company ! Doctor Ah, you're bluffing! Man Bluffin', eh? Doctor I've heard of that trick before! You've got water in there! DAWN 29 Man Wttcr, ch ? Well, you're a doctor — (taking a kmfe from table; dipping it into bottle) — taste it! (He kamds the knife to the DocnNL ) Weil ? ( The Doc- tor tastes: then silently puts away his revolver,) Ah! Doctor Think of your wife, man I Man Cut it! Cut it! Now, let's talk. (Sits,) You're a religious man, ain't ye, Doc? Doctor Yes, I am. Man Go to church on Sunday? Doctor Yes. Man You'd keep an oath? Doctor What do you mean? Man You're going to swear to do what I want before ye get out o' here — alive. 30 DAWN Doctor 111 do nothing of the kind. Man Then yc won't get out — alive. (Pause.) The number on that battery is all the evidence they've got against me. You're going to scrape that off. You're going to tell them I'm innocent — you've talked to me, an' you're sure of it. They'll believe you. I won't do it. Doctor (Quietly) Man Oh, there's no hurry! Think it over. (Pause.) If ye do, I won't touch ye — an' if ye don't ye'll be sprinkled all over the county in a minute. Woman Doctor, he means what he says. I know him. For God's sake Doctor (Interrupting) Do you think I'm afraid of death? If I were I wouldn't be a doctor! I ran more risk when the yellow fever broke out in Havana than I do now! DAWN 31 Woman But, Doctor, you are youngl ^'uur life it valuable I ^'ou don't care about him. Do what he a&ki! DoCTOft (Pushing her awof) I am not a coward. Mak Well, Doc, I ain*t a coward any tziore than you. What have ye got to say ? Quick! Doctor (Rapidly) Molly, if — if anything happens to roe, you will find that I have left you some money— enough to take you East — to my sister. She knows about )x>u. She'll take care of you. Man (Interrupting) Come on ! Gxne on ! Doctor (Disregarding him) You understand, Molly? 3a DAWN Woman But, Doctor Doctor You understand? Woman Yes. Doctor (Turning to the Man) As for you, you think you're going to get away ? Man Mebbe. Doctor You won*t. {Drawing revolver.) If it's the last thing I do, I'll shoot you. And if / don't get you, they'll get you outside. Man {Excitedly) What do ye mean? Doctor {Lying desperately) I didn't come alone. I brought a dozen men with Look for yourself. Where? DAWN js Man Doctor Anywheres. Outside. (The Man /on ton am the door, befint to open it. The DOCTOR rushes at him. The Man, who half expects ii, dodges, jumps hack, raises the bottle with a snarl, msd throws it as the DOCTOR fires. There is a terrific explosion. The lights go out, and dmtfn, em instant later, begins to break through a thin, pungent smoke which is rapidly drifting away on the fresh mom- bsg breeze. The rear and left walls of the shack are blown out, and the snowclad hill- side is dimly visible. The left of the stage is encumbered with debris, and a body appears to be beneath it. The right is practically untouched, and the Man, standing there, with his hands over his eyes, is moaning in agony. The Woman, uninjured, but screaming hysteric- ally, is feverishly searching the ruins. And the Doctor, apparently unhurt, stands at the left with a child, a child in the garments of the working class, at his side.) Doctor What 1 imishl What a terrific smashl 34 DAWN Woman {Searching) Doctor ! Doctor ! Where arc you ? Doctor Here I am! (The Woman does not appear to hear him.) Woman Where are you, Doctor? Are you hurt? Doctor No, I'm not hurt. Woman {Falling to her knees at the side of a body, with a torrent of sobs) Doctor! Oh, Doctor! The Child {Touching his sleeve) Doctor ! Doctor Eh? How do you come here? {Thunderstruck, staggering back, almost fainting.) You — who arc you? DAWN 35 The Child (IFi/A a winsome tmiie) Why, I'm Migpe. DocTOt M'Magsic? But you — you irc Jtadf Thb Child (Smiling gently) So art you. THB CURTAIN PALLS SLOWLY THE NOBLE LORD A COMEDY CHARACTERS He She Peters THE NOBLE LORD jf SECLUDED rpoiin the Afaine woods in the y^v neighborhood of a summer hotel. It it the -^ ^ middle of July. The trees are covered with foliage, a hot sun casts dancing shadows upon the mossy ground, and the air is full of the twittering of birds and the rustle of leaves. A winding path crosses from one side to the other, and near the center is a little clearing: the stump of a felled tree, with the lichen-covered trunk itself near it, and a patch of grassy turf. The eye cannot penetrate far through the riotously growing underbrush, but as one looks upwards, to the left, a thinning of foliage, allowing a glimpse of the sky, gives evidence of the near prox- imity of some small body of water. As the curtain rises the scene is empty. There is only the song of birds, and the whisper of a gentle breeze. For a few seconds nothing else is heard. Then, suddenly, not far away, there is the sound of a splash, followed by the scream of a drown- ing woman, "Help/ Help/ Help/'* There is a tremendous crashing through the underbrush, and an- other voice, very masculine, very English, shouts, " Habere are youf IVhere are yomt " Raiher indefi- 39 40 THE NOBLE LORD nUeiy the first speaker answers, "Here/ Help/ Help/'* Another crashinz through the underbrush, followed by a second splash, and presently, after a short pause, there enters upon the stage a tall, much bedraggled Englishman, bearing in his arms the mo- tionless body of an extremely good-looking girl. Both of them are very wet, and a trail of water marks their progress across the scene. Reaching the clearing, the Englishman methodically deposits the girl on the ground, backs away a foot or so, and notices that his hands are wet. He reaches into a hip pocket and draws forth a handkerchief: the handkerchief is wetter than his hands. With a gesture of vexation he throws it (Tway, and gives his attention to the girl. He looks at her quizzically ; then, rather timidly, he kneels at her side, and lays his ear over her heart. He rises promptly with a satisfied nod, carefully removes his dripping coat, folds it neatly, and places it on the log. Again he kneels, this time with his knees on either side of the girl's head, and laboriously begins to apply the Sylvester method, counting audibly as he does so. At " ten " he stops wearily, pauses, and again applies his ear to her heart. The result is evidently pleasing, and after a few more Sylvester movements, he begins to vary the procedure by removing her shoes and alternately chafing her hands and feet. Presently she sighs deeply. For the third time he pauses to listen to her heart. Slowly and deliberately her left arm rises, to encircle his neck in a confiding clasp. He sits back on his haunches, politely surprised. THE NOBLE LORD 41 She (Fmntif) Mother? Mother, dear! He £h? She Mother, dear, Im so glad— « He {Interrupting energeticallf) Really, I beg your pardon. . . . She (Continuing without a break) Fm 90 glad youVe come. He Ah, yes. . . . Quite so. She Kiss me, mother. He {Trying to rise) Eh? (She does not release him,) She Kiss me, mother. 42 THE NOBLE LORD Hb But Vm not your mother. Sh£ {Plaintiveiy) Won't you kiss me, mother? He (Looks around furtively. Then he obliges her.) She Ah! TTiat's so nice. {She pauses. Shudders.) Hold me close, mother, hold me close. I've had such a terrible dream 1 He Good Heavens! You're not dreaming now. . . . She I dreamt — I dreamt (He has raised her to a sitting position. She stops abruptly. Looks about.) Where — where am I? He (Surprised) Don't you know? She No. He (In a matter-of-fact tone) We are about half a mile away from the Poland Springs Hotel, Poland Springs, Maine. THE NOBLE LORD 43 Shi Oh I (^A# pauses,) And )'0u, bow do you come here? Hb Strolling. Shb Strolling? Hb I reached the hotel this morning. It was hot— beastly bot I went for a walk in the woods. Shb And then? Hb I beg your pardon ? She What happened then? How did we meet? Hb Don't you know? Shb I remember nothing — I'm confused. (She tries to let up, but sits on the log with a little exclamation.) My shoes— where are my shoes? 44 THE NOBLE LORD Hb (Fetching them) Here they are. She Thank you. . . . (She looks at them.) Those aren't my shoes! Hb (Politely) No? Shb They're wet. Hb (Nodding) They would be. She But they're not mine. He (Shrugging his shoulders) I found them on your feet. She (Confused) On my feet? THE NOBLE LORD 45 Hb Yes. . . . (^ji ^tertknuiht) One on etdi. Shi Oh ! (5Ar tries io put tkem on.) I can*t get thcni on. Hb No? Shb Will you help mc? {He assists her; she feels her clothes and exclaims): Oh! Hb Did I hurt you? Shb (Astonished) My clothes are wet! YtL Hb {Thoughtfully) Shb How funny! {Noticing him.) And >*ou — 3rou*rc wet also! 1 46 THE NOBLE LORD Hb (Nodding) Soaked. She What a coincidence! How curious! How did it happen? {She pauses,) Oh, if I could only think! Think! {He rises, and waits politely,) Tell mc: you must know. He Well, I was strolling through the woods. I heard a splash She {Interrupting) A splash! Oh, don't say any more: I remember! That horrible lake! Horrible! It was so warm at the hotel : I had gone off to the woods. I was sitting at the edge of the lake — on a rock — reading. I must have been sleepy. I fell in. He Then you screamed. She Yes: I was drowning! Drowning! I called for help! He I heard you. THE NOBLE LORD 47 Shb 1 tank — I sank, oh, rotlet and milct! It felt at if were trying to pull me down to the bottom I I tcreamed again — and then — then — I felt a strong arm aroimd my waist — I wu dizzy — there was a roaring in my ear»— I knew no more. He (Sfm^iketicallf) Too bad, too bad. Shb And )rou — (rising to her feet enthusiastically) — you were the man who jumped in! He (Apologetically) I wit ptMrig by. Shb You saved my life! Oh, how can I ever thank you? My hero! (She throws her arms about his neck,) Hb That's all right. . . . Shb But it's not all right. I can never repay you I Never! Never! Not if I live to be a thousand years old! (She kisses him.) 48 THE NOBLE LORD He {Calmiy) That's the second time. She The second time? He (Noddhg) I kissed you before. She Oh! (Releasing him quickly.) You didn't! He Yes, I did. She While I was unconscious? He Precisely. She Oh, how could you do such a thing? How could you? He ( Taking up his coat) It was by request. (Takes cigarette case from pocket.) THE NOBLE LORD 49 She (Incredyiouslf) I a5iket] \-ou? Hb You Mid. " Mother! Mother! Kiss me!*' ( Takes iigarette from case. Pleased to tee that it is dry ^«/x it between his lips.) Shb I Slid thaif Hb They were your first w'ords. (Produces match-safe from trouser pocket.) She But you didn't have to kiss me. Hb No? ( Trying to strike a match. It is wet. So are the others.) Shb You didn't have to! He I tned to explain that I was not your mother, but you seemed to know better. (He throws the cigarette away,) You insisted. I couldn't help it. 50 THE NOBLE LORD She (After a pause, coquettishly) What do you mean: you couldn't " help it "? He (Perfectly willing to flirt) You know (He hesitates.) She (Encouragingly) Yes? He You're a pretty girl — a deuced ly pretty girl. She Oh, no! He But you are ; honor bright ! She You really think so? He (Nods) There was no one around. It was the kind of an opportunity which does not present itself every day: life is so monotonous. And you didn't seem to object. THL .NUULE IX)RD 51 She (Cofh) I couldn't very well — not while I Hi Tliat ft io. I am t man, with a man's taiteib And you begged me so hard — it was so inviting— "wcU, I kissed you. Shi (After a pause) On the lips? He Yes. On the lipt. Shi {After a pause) How often? He Eh? How often did you kiss me? Only once. Hi Was that all? Shi 5a THE NOBLE LORD He (With a smile) Why, It's hardly worth mentioning. She (Going to him and taking his hands magnanimously) Well, I forgive you. He Thank you. She (Invitingly) Two kisses is not a great deal for saving my life. He No? She I owe you much more than that ! He (Standing motionless) ReaUy? She (With her lips half an inch from his) Really! (A pause.) Really! (He does not kiss her. She gives it up. Sits on the log, drawing him to her side.) You must tell me all about yourself. Just THE NOBLE LORD 53 think: if it hadn't been for you, I would be at the bot- tom of the lake now. What a horrible tragedy that would have been: to die in fuch a way I . . . (Skt pauses.) It'i natural that I should want to know something about the man who saved me from that . . . Hi (IFith emharrastmeni) I don't like to talk about myself—^ Shi (Interruptiftf encouragingly) You're still a young man, aren't you? Hb Thirt)'-one. Shb {Laying her hand on his) Arc you? Hb {I^odding) Last November. She (Lying with the insouciance of expertnest) I'm just twenty. (He nods his head, without shouH ing the least sign of disbelief,) Eleven years between 54 THE NOBLE LORD He Just the right ages, aren't we? Shb (Leaving her hand where it is) Do you think so? He Eleven years difference — ideal! She Ten ?nd a half. He Eh? She I was born in June. He Oh, were you? (Sagely.) That's better yet. She Do you think so — Lord Brookfield? He (Surprised — or simulating it effectively.) Eh? She Lord Brookfield? THE NOBLE LORD 5$ Hb How on etnh did you know it? Shi (ffiih a iMik) Oh, I am not to stupid as all that! Hi You recognized roe? Shi . No. I have never seen you. Hi , A photo? She Na Hi m Then how did you know? . . . She (Inttrruptini) Lord Brookfield is a well-known man. The papers said he was coming to the hotel I knew every other guest He But three or four others arrived this rooming 56 THE NOBLE LORD She Americans. Hb Oh! She You are English. I could see that right away. He (After a pause) How clever of you ! She Oh, Lord Brookfield! He And how curious that I should meet you in this way — informal, so to speak. She (Laughing) Odd, wasn't it? (She rises.) Ugh I — ^how my clothes are sticking to me I He That's so. You had better change. She And you ? THE NOBLE LORD 57 Hb I'm rather wet oayielf. Shb Will you take me tMck to the hotel ? Hb The sun is very hot here. She (Instantly chaniing) Oh, would you rather stay ? Hi (Does not answer for a few seconds. Then, a little abruptly) Tell me : can you swim ? Shb (Startled) Eh? Hb Can you swim? Shb Lord Brookfieiai Of course I can't! Hb That's curious. 58 THE NOBLE LORD Shb Curious? Hb Neither can L She (Staggered, but returning to the attack with magnifi- cent self-possession) Oh, but you swam splendidly! Clothes and all! All the way from the other side of the lake ! Hb Did I? She Of course you did ! One plunge, and a few magnifi- cent overhand strokes. . . . (She notices his peculiar expression, and hesitates.) He (Thoughtfully) Plunge? , She Why, certainly. He (Shaking his head) I would have sworn I waded. THE NOBLE LORD 59 Shi {Lmtikiui uneasUf) You are really too modest, Lord Brook/icld. Hb Let's see. (He picks up his coat, and shakes it out.) Of course, I might have swum, but Ah! the water line comes only as far as the waist! Shi That means nothing. Hi No? (Feeling his head.) If I had plunged, my hair would have been wet. Shi It dried in the sun. He Ah, }'es! But my cigarettes! (Taking one from the case.) Shi The case is waterproof. He Still, the matches are wet. (Producing the box from his trouser pocket, and trying to strike one.) You see? 6o THE NOBLE LORD She (fVith a forced laugh) Lord Brookfield, don't deny that you saved my life! He That is what I am trying to do. She (Frigidly) I beg your pardon? He I jumped in without thinking. It was the natural thing to do: I heard you scream for help. But the moment the water came to my waist I knew that if it went any deeper I should have to call for help also. Shb Well? He I was spared that humiliation: the pond isn't over three feet deep in any place. And I waded the whole twenty feet from one end to the other. . . . And I cant swim. She But I was drowning! Drowning! THE NOBLE LORD 6i Hi (Poiiuiy) Are you in the habit of drowning often ? She {Rising indignantly) Lord Brookficld! He I nearly forgot to mention She What? Hb That I saw you jump in. Siu OhI Hb It was pleasant while it lasted, wasn't it? And romantic! Why, romantic doesn't begin to describe it I (Imitating) "Mother, kiss me!" Shb Oh, how can you? He Unconsdous— helpless— and you didn't remember! Not even the shoes. That was dcvtr — very clever! 6a THE NOBLE LORD And the hands trying to pull you down to the bottom : that was the touch of genius! {He pauses with a smile,) Ah, well, I was willing to have a little fun. (A man is heard whistling a popular song in the distance. He listens attentively,) She {After a pause) You played with me — played with me. Oh, you're disgusting! Revolting! What a thing for a man to do! I thought {She breaks off,) Hb {Encouraging her to continue) Yes? She Nothing. . . . ( Then, seeing no reason to restrain herself.) I thought Lord Brookfield was a gentleman! He Oh, but /'m not. She Not a gentleman? He No. . . .I'm not Lord Brookfield. THE NOBLE LORD 63 Shi Not Lord Brookfield? Hb No. She Then who on earth arc you ? Hi (Sweetlf) I ? Tm t friend of his. Shi A friend? Hi A dose fnend — very dose. She Who? Who? Hi (Leisurely) Vm not related, you know, but I see a lot of him. We're thick — very thicL She (Impatientlf) Who are you? 64 THE NOBLE LORD Hb (Simply) Tm his valet. Shb (Horrified) Oh! . . . And you kissed me I A valetl You dared kiss me 1 Hb At your request. She (Almost choking with rage) But a valet! A valet! He I'm a good valet. One of the best there is. She Your insolence ! Oh ! (She seizes the handkerchief which he has left on the log, and wipes her mouth fu- riously.) He My handkerchief. THE NOBLE LORD 65 Shb (Thronging it to the ground) Oh, you award ! You. . . . You (She sits on the log, inarticutatt tilth rafe. The whistle is heard again.) Listen tome. He I won't She Listen to me. He (Earnestly) She I don't want to talk to you! rU help you. Hi I don't want your She (Rising) help. Then you're silly. He (Bluntly) 66 THE NOBLE LORD She (Wheeling furiously) How dare you Kb {Interrupting) I'll make a bargain with you. She (Scornfully) What dealings can there be between us? He Did you hear the whistling a minute ago? She Well? He (With meaning) That's Brookfield. She (After a pause) Well? He The path leads here. He is following the path THE NOBLE LORD Shb Well? (Jfltr stUI another paust) Hb You ind I might be veiy good friends- Shb Oh» you m {TkoughtfuHy) Hb A Vtlct IS No. . . . Shb Still Hb Shb (Slowlf) Comes of what ? 67 Hb You understand me. {He pauses; smiles. Then, in a Mephistophelian manner) : Your clothes are still wet, aren't they ? 68 THE NOBLE LORD Shb (With full comprehension) He Enough said ! ( The whistle is heard, close at hand.) Quick 1 She {Going off) You won't tell? {He shakes his head.) I'll re- member you. {She runs into the woods.) He {Sits on the log, laughs heartily. He produces an- other cigarette, and tries in vain to light it. Then, as an atrocious little cockney enters whistling gaily, he ad- dresses him sharply) Peters! Peters {Surprised) M'lord? He Give me a light, Peters. Peters Yes, m'lord. {Produces match, etc.) THE NOBLE LORD 69 Hi Thanks. (II f Ifiows a few wkiffs into the mr. Then stops, tmd turveft PtTEtS thoughtfully.) Pf ten, you're a brave man, aren't you ? Prrns (Afodestif) I am 'andy with me fists, m'lord. Hb That's not quite what I mean, Peters. , , . {He pauses. ) Peters, you have the making of a hero in you. Something tells me that you're going: ^o hnve your chanoc ( There is a loud splash from the same direc- tion as before, followed by scrrams of "Help/ Help/" Peters (If^ith excitement) xM'Iordl Hb (Quietly) Yes. Peters? Pbtbbs Somebody's calling for 'elp, m'lord 1 Hb Yes, Peters. 70 THE NOBLE LORD Peters Shall I gp, m'lord? Hb Yes, Peters. . . . Gallop! And as Peters (Charges wildly into the shrubbery, shouting) H'l'm coming! HTm coming! THE CURTAIN FALLS THE TRAITOR A DRAMA CHARACTERS Colonel Sir Robert Anstruther, K. C. M. G. Major MacLaurin, V. C. Captain Grantham. Captain Bates. Captain Parker. Captain Willoughby. Lieutenant Edwards. Other officers of the Fusiliers; an Orderly, THE SCENE Colonel Anstruther's Tent. THE PLACE South Africa, THE TIME The Boer War, THE TRAITOR ^S the curtain rises Colonel Anstkuther and y4# Major MacLaurik are discovered, seated on -^ -^ camp chairs, near a plain deal table. At in- tervals an orderly is seen passing the door of the tent. It is after nightfall, and a flickering light is cast by a few lamps. There is a long pause. MacLaurin {Vehemently) Its hell, Colonel, that's what it is! It's heU! Anstruther {After a silence) You haven't a suspicion ? MacLaurin No. . . . Hc*s clever — too clever! Damn him! Anstruther There's never been anything like it in the history of ^e regiment. MacLaurin I wouldn't believe it if )'0u told me. I wouldn't believe it unless I kneu' it at first hand. That an Englishman — an Englishman 73 74 THE TRAITOR Anstruther A traitor. MacLaurin Yes. (Nodding bitterly) Anstruther There have been traitors before. MacLaurin But not in the Fusiliers! Anstruther Thank God, no. MacLaurin The first thing that made me suspect was a month ago : at Spiesfontein : when the Boers shelled us* Anstruther It was queer, wasn't it? MacLaurin It was much worse than queer! They knew our position! They knew our strength! There was not a wasted shot ! Anstruther (Gravely) It cost us thirty-eight men. THE TRAITOR 75 MacLaumn (H^iik a nattf contraction of his mndtr lip) Yes. And more the next day, and the day after. Then they drove us here: bottled us up. And the shooting! Have you ever teen such shooting? Soroe^ body has given them mapt. ANfTRUTHER Yes; that's pretty clear. MacLaurin It was one of our o^^ officers: that's pretty dear also. Anstruther I'm afraid so. MacLaurin Who wta it? Anstruther (After a pause) I will tell you that in fifteen minutes. MacLaurin You mean it? Anstruther {Sodding slowly) Yes. 76 THE TRAITOR MacLaurin How I'd love to get my hands around his throat ! Anstruther You'll have your chance, Cecil. MacLaurin Do you know the man ? Anstruther I think so. MacLaurin What's his name? Anstruther (Quietly) Wait! Wait! . . . I have sent for the officers. MacLaurin (Dejectedly) Then you don't know. Anstruther I'm almost sure, Cecil. Orderly (Appearing at the entrance of the tent) Colonel I THE TRAITOR 77 Ansthjthee Yet? Orderly The officen, lir. Anstruther Ask them to come in, orderly. (The Orderly salutes and exits,) MacLaurik One of our own officers ! What a horrible— » Anstruthbr (Interrupting) Sh! (The officers enter, saluting as they do to.) Is Lieutenant Edwards there? Grantham He's coming, sir. Anstruthbr Will you sit do%vn, gentlemen? (He turns to Cap- tain WiLLOUCHBY.) Everything quiet, Captain? WiLLOUGHBY (Nodding) Just been the rounds, sir. (Lieutenant Edwards appears. His uni- form is torn and soiled, his face haggard, his general appearance that of a man near the end of his strength.) 78 THE TRAITOR Anstruthbr Ah, here you arc. G)mc in, Lieutenant Edwards Vm sorry if I'm late, sir. Anstruther It's all right. Sit down. ( There is a pause. Then he addresses the assembled officers in a low voice.) Gentlemen, I have asked you here to lay a matter be- fore you. The Articles of War prescribe certain rules for our conduct. Those rules are supposed to be fol- lowed absolutely. But I am violating no secret if I say that under certain circumstances it becomes per- missible to— to overlook some of them. Whether we do so or not depends upon your judgment. . . . Lieu- tenant Edwards, as you know, was captured by the enemy four days ago. ( There is a general murmur of assentj\ Anstruther Lieutenant Edwards escaped to-day. Lieutenant Edwards told me to-day what took place in the interim. It appears that the Boers wanted information as to the disposition of our forces — as to our strength — as to our plans — information which Lieutenant Edwards could give them. Parker (To Edwards) You didn't tell them, did you? I THE TRATTOR 79 Anstruthir He refuted to speak, Ctptain Parker. Then . . . Edwards, tell them what followed. EOWAJIM They couldn't get anything out of me, to— to they put roe to the torture. A LlElTTENANT Good God! Edwakds They held my feet to the fire — they tied a cord around my forehead Anstruther (Interruptini coldly) The details are of no consequence, sir. Edwards No, air. Anstruther They tortured you to make you tell. Did you tell? Bates You didn't, man! Grantham Of course he didn't! 8o THE TRAITOR Anstrutiier Did you tdl, sir? Edwards They tortured me, sir, they were killing me Anstruther (Insistently) Did you tell? Edwards {After a tense pause) Yes, sir. MacLaurin {Rushing at him) You — ^you traitor! Anstruther (Arresting him) Stop! (To the others, who have risen.) Sit down, gentlemen ! Edwards (Sobbing) I couldn't help it! I swear I couldn't help it! I stood it for ten hours — for ten livelong hours — I fainted tv^^'ce, and they waited till I came to each time, and then THE TRAITOR 8i MAcLAuaiN You told! Edwaim I couldn't sttnd the pain. It wu killing roe. You cowtrdl Major! MacLauwk Edwards (Sprinting up) Anstruthir (Sternly) Sit douTi, sir! (There is a pause.) Gentlemen, I have asked you here to judge this man. Parker Why, there's nothing to do but Anstruthbr (Interrupting) Just a minute, Captain. The Articles of War pre- scribe death. (There is an affirmatory murmur.) Lieutenant Edwards has betrayed militar>' secrets. But whether one man dies or does not die is of no great consequence. This is not a court-martial: no report of what takes place here will ever reach the outside w Grid. Lieutenant Edwards wis compelled to do what 82 THE TRAITOR he did; it was not a voluntary act. He claims — well, it is not necessary for me to repeat what he said: you can imagine what it wtis. It is for you to decide what is to be done : it is for you to punish — or not to punish. Gentlemen, the matter is in your hands. (He walks to the door of the tent. The officers rise, and form a group.) Edwards (Seizing Grantham's sleeve as he passes.) Billy! (Grantham shakes him off in silence.) A Lieutenant What a thing to happen to the regiment ! Edwards (Turning to him eagerly) Gerald, if you knew The Lieutenant (Cutting him short) I don't want to. (He turns his back.) MacLaurin Gentlemen, as senior officer present I put the ques- tion to you Edwards But hear me first, fellows THE TRAITOR 83 MacLa UUN Tliere tt nothing you can say, lir. (Hi twrus to tkt othtrt,) The Articles of War prescribe death for the officer who forgets his oath of allc^'anre to hit Sovereign. I to vote. Gentlemen ? {A chorus of " Afts *'; a singU isajf.") MacLauun Again, gentlemen ? (Thin U still one " Nay.") MacLaurin (Frtnvning) The "ayes" have it (Hi crosses silently to Anstruther.) Edwards (Hysterically) You're not going to sec me killed, arc you? Why, I couldn't do anything else A Lieutenant Edwards, you were an officer and a gentleman once. Try to remember it. Anstruther (Retumini) I believe you have voted, gentlemen? MacLaurin There ts only one apunst, sir. 84 THE TRAITOR Anstruther (Addressing the officers) And you are still of the same opinion ? (J general murmur of assent.) Anstruther Major MacLaurin. MacLaurin Yes, sir. Anstruther Some time to-morrow you will go for a walk with Lieutenant Edwards. MacLaurin Yes, sir. Anstruther You will go some distance from camp— not less than a mile, I should say. MacLaurin Yes, sir. Anstruther On this walk there will be an accident. What kind of an accident does not matter. Revolvers have been known to explode while being cleaned. Or, if you pre- fer, there is a dangerous cliff towards the South. At any rate, there will be an accident. THE TRAITOR MacLauun Yes, sir. Anstkuther From this locidcnt Lieutenant Edwards will not recover. And you will make it your bustncts to see that there is such an accident. MacLaurin Yes. sir. Anstruther {To Edwards) You may write what letters you please to-night — under Major MacLaurin's supervision. There is to be nothing \%*hich would lead persons to suspect the truth. They will be ordinary letters — such as you might write any time — no farewells. You understand, sir? (Edwards does not answer. He repeats the question.) You understand, sir? Edwards (Salutinf with an effort) Yes, sir. That is all. Good-by, sir. Anstruthbr Edwards (OfferiHf his hand) 86 THE TRAITOR Anstruthbr (Turning his back) I said that was all, sir. Captain Willoughby No, sir, that is not all I Anstruthbr (fF heeling in surprise) Sir? Willoughby It is hellish, what you are doing! It's not right, it's not fair, that you should send this poor boy to his death like this ! You would have done the same thing if you had been in his place! He told, that is true, but you would have told, too! Just look at him: see the mark of the cord around his forehead: imagine what he went through! He did what he had to, and you, you sanctimonious beggars, you would have done no better! (Edwards bursts into an hysterical laugh.) Willoughby (Continuing excitedly) I was the one who voted against death! You wouldn't hear him, no, you wouldn't listen to a word in his defense. And it's murder that you're doing! Murder! (He pauses as he notices the peculiar ex- pression on Anstruther's face. He finishes weakly) : You must let him go, sir! You must let him go! THE TRAITOR 87 ANtTRUTHim (After a PMse, im a grim tone) Yet. MacLaurin (Foicinf a general protest) What tre you doing, Colond? ANSnUTHBR (Silences him with a gesture,) WlLLOUGHlY You will do what is right, Colonel ! Anstruther (Emphatically) Yes. (He detains the officers as they start to leave the tent,) Wait a minute, gentlemen. (He pauses; then, quietly)'. Gentlemen, there has been a traitor amongst you for a long time. I was unable to find out who it was, so Lieutenant Edwards and I put to- gether this story. Lieutenant Edwards was never ckp- tured by the enemy: he was never tortured: he never told. But it was sure that one man would be merciful to a traitor: the man who himself might be discovered any day. (He pauses: then, suddenly) : Captain Wil- loughby, at dawn a firing squad will escort >'0u out of camp— and shoot you I CURTAIN A HOUSE OF CARDS A PLAY A HOUSE OF CARDS yt^ exquisitely furnisked room in a fashionable Am Nnu York apartment house. The walls are •^-^ hung with tapestries: the furniture, of the peroiJ of Louis XIV, though in the best of good taste, is almost oppressively heavy; soft rugs cover the floor. In the center of the room is an extremely sim- ple, yet very massive electrolier. The room is entered by various doors: one of them, at the rear, leads into a private hall: another, at the right, evidently opens into a room, but the interior of the room is never visible, as the door conceals it from the audience even when open. The curtain rises. There is no illumination on the stage proper, but the door at the right is open, and a broad beam of light comes through it. Some person is moving about in the next room, and the shadow of a figure is occasionally visible. A clock, somewhere in the distance, strikes midnight in deep tones. Then voices are heard outside at the rear. The unseen figure in the next room moves to the threshold, stands motionless an instant, and as the click of a latchkey is heard, pulls the door shut. The rear door opens, and a man and a woman are seen. The man enters the room boldly: the woman does not advance. 9« 9a A HOUSE OF CARDS Hb Just wait till I find the switch, dear. She (JVaiting and listening) You must have passed it. Hb No. IVc got it. {The electrolier lights, and the woman enters the room. She is not over twenty-five, tall, blond, and insistently beautiful. She is in evening dress, and her heavy fur cloak, open in front, reveals a decollete gown. She wears no hat. The man, also in evening dress, is some ten years her senior. His face is not prepossessing, hut it conveys an impression of strength, strength mental as well as physical. He moves toward her.) Let me help you with your cloak. She {Allowing him to assist her) Thank you, dear. {He spreads the cloak over a chair, and proceeds to divest himself of his own over- coat and muffler.) Quite exemplary. {Leisurely peel- ing off her gloves, and glancing at a wrist-watch.) Just midnight. My watch is fast. {She sets it.) Hb ( Turning) By Jove I A HOUSE OF CARDS 93 Smb Yet? Hb Don't move: stand ai you were. With your hands in front of you. Na Yes, that's it! (He pausa.) Whewl Shb What's the matter? Hi There's nothing the matter, Helen, absolutely noth- ing 1 You are simply exquisite! Perfect! She {Smiling) Ami? Hi That gown — and your hair — how that plume sets it of! ! From your head to your feet, a dream ! A dream, Helen! Shb {Dropping the pote) Silly boy! (Croffing to him,) Do you love me? (He tries to seize her. She eludes him,) Say it nicely! 94 A HOUSE OF CARDS Hb (Following her) I love you I She (Backing away) Again! . . . {She bumps into a sofa.) Oh! (She throws out her hands to balance her- self. He catches her; kisses her,) He (After a pause) Isn't it time to go to bed ? She At midnight? No, it's too early. Besides, I feel like talking. He (Sinking into a chair) I'm tired. She I'm not He You haven't put in a hard day at the office, Helen. She (With instant sympathy) Poor dear! (Sitting on the arm of his chair, and caressing him. ) Was it really so hard ? A HOUSE OF CARDS 95 Hi Yes. . . . You know, I'm an Wmoi/ mooetiful business man. If I had more, I could retire: if I had less, Td be a failure. Shi (Jntirrupting) No, Arthur! Hi {Continuing) Oh, ril never be down and out: Tve too much seme for that: but I'll never be able to quit. She {Kissing his forehead) I think of you all day long, Arthur. He I know it. But it's work — nothing but work — damned, dull, beastly, monotonous work. ( The door at right opens slowly and gradu- ally. The light in the next room has been extinguished, ) She I thought you loved it He So did I. I used to think that— -once. To-morrow will be another hard day. 96 A HOUSE OF CARDS She (Reproachfully) Arthur! Hb Eh? She Don't you remember? He Remember ? She To-morrow will be Tommy's birthday! He I forgot all about it. The little rascal I She He will be two years old to-morrow. Just think of that! He Well, well! (Suddenly) I say, he looks like me, doesn't he? She (Leaning away from him) Let me look at you. A HOUSE OF CARDS 97 Hi Oh, you cin't deny it I He his my noie. The Mne hook — not lovely, but mine. She (Slow if ami criiicdllf) I think you're right. But he his my eyc»— my lips — my expression — my smile — just like my own pic- tures when I was his ige. Hi It it a nose that lends character to a face. Shi The eyes catch your attention first 1 Hi It*s the nose that gpts down in history 1 Shi (Risini, snapping her fingers) That for history! ( The door closes quicklf and almost noise- lesslf.) Hi (Starting up) What was that? Shi What, Arthur? 98 A HOUSE OF CARDS He {Looking about) I thought I heard something. She What do you mean ? He I would swear to it — I heard a sound. She {Laughing) Look! {She indicates his cigarette case, which has fallen to the floor.) You dropped your case, {/is he picks it up) : 'Fraid cat ! You've been reading about burglars! He {Smiling) Which of us would be more frightened if we saw one? She Oh, you don't think there's one here? He {Laughing) Of course not. {He lights a cigarette.) He couldn't get past the elevator man. A HOUSE OF CARDS 99 Sub I'm to gild. Hb {Changimg the conversation) What do you hear from Jimmy ? Shb Which Jimmy? Hb Not your brother — Jimmy Duncan, I mean. She Oh, he*s in Chicago. Hb Coming back this week? Sub I don't think so. He's not sure himself. Hb He writes to you often, doesn't he? Shb Yes, quite often (She pauses,) Do you re- member, dear, four years ago? 100 A HOUSE OF CARDS He (Puzzled) Four years ago? Shb In January? Ah, yes! He (Smiling) She Both of you were attentive to me. If you took me to theater one night, Jimmy took me the next. If you sent me roses, Jimmy sent me orchids. You used to hate each other! He (Laughing) Funny, wasn't it? She You didn't think so then. I was afraid, one night — it was at some ridiculous dance Hb (Interrupting) Oh, that was nothing. A HOUSE OF CARDS loi Shi I'm not 10 sure. ... I was afnid that you and Jimmy would come to blonrt. I was glad you didn'L He (fViih a comic swagger) I could have whipped him I Shb (Shaking her head) I don't know Hb Why, I'm twice as strong as Jimmy— «lwayt She It isn't only strength, Arthur. He No? Then it's nerve: Jimmy has no nerve She (fFith a fudden change of tone) You know, I liked him for thatl He LUed him for that? Shb Ycfc loa A HOUSE OF CARDS llB For being a coward ? She If you want to put it that way, yes. There was something sweet about him. Something gentle, womanly. Not effeminate — ^Jimmy was never that, but something delicate, something — well, something which I found in very few other men. He (With ill-concealed contempt) I imagine so. She Laugh at it if you will. . . . (She pauses.) I can't find just the words to express it. Jimmy was the kind of a man who didn't make scenes — not even if he was right. He'd rather give in. I've seen him do it a thousand times, and sometimes — sometimes it hurt me. I felt he was not the coward — I, I was the coward. It was so easy to take advantage of him. He (After a pause) Yes. (He throws away his cigarette.) She (In a tone of reverie) Did I ever tell you — Jimmy and you proposed to me the same week? A HOUSE OF CARDS iqs Hi {Intertsled) No, i didn t know that. (There is the slifhtert possible movement of the door, amd one notices that it is not closed hut ajar: perhaps has been ajar for some time.) She I thought I had told you: Jimmy asked me cm a Monday, and you on m Wednesday. Hi A WedneKlay? She (Sit tin I on the sofa) The twmtv-first, \va>;n't it? He So it was. . . . (Standing before her, smiling grimly.) You kept me waiting a week before you put me out of my agony. Shi (Smiling) That was mean, wasn't it? He (Sitting on the floor at her feet) Yes, it wasi I04 A HOUSE OF CARDS Shb I kept Jimmy waiting also He ( Interrupting relentlessly ) That was no consolation. She Poor boy! (Putting her arm about his neck.) But you've had your reward, haven't you? (She leans over and kisses him.) It wasn't easy to make up my mind — I had a hard time that week. He Thank you I (At this point one observes that the door is now luide open. The characters have their backs to it, and neither of them notice it,) She You were a much cleverer man than Jimmy : I had always looked up to you. (He grunts, but makes no other answer.) I often wondered what there was in me to make both of you like me: you were so differ- ent. Hb Yes, wc were different. A HOUSE OF CARDS 105 Shi And Jimmy wat fuch a nice boy. Hi I WIS a clever man with do money, and Jimmy a fool with lots of it. Shi I thought of that alao. I didn't love hira, but he used to say that love would come in time: that the love which came last was the best of all Hi (Chuckling) It sounds nice, doesn't it? Shi He used to din it into my ears: over and over Hi I wonder if he still thinks so? Shi I wonder? (She pauses,) And you Hi Tell me, was cleverness my only attraction? io6 A HOUSE OF CARDS She No. {She looks at him ivhimsically.) You were fickle: that was charming — and risky. 1 knew I would never be sure of you. Hb I have never been sure of myself. She I believe you. (She smiles.) I never knew how many girls you loved before you met me — and I don't know how many you've loved since. He (Laughing) Helen, that's not fair! She (Also laughing) But it is/ G)me, 'fess up! Hb No, no! She (Enjoying the situation) Oh, but you must answer! I insist! Hb No! A HOUSE OF CARDS 107 Shi You know all about me: I don't know anything about you. Answer: whom have you loved tince )'ou met roe? (Ski rises with burlesque gestures, TA# Weer swings through its arc with a loud squeak: the latch catches, the door refuses to close. Once, twice, the unseen hand parti f opens and attempts to close it: then, with a harsh slam, the door is shut, and the holt of the lock clicks home.) Hb (/FAo has risen at the sound of the squeak) Good God I (Pushes her towards the telephone,) Helen! Quick! Call the policed (He rushes to the door,) Who*s there? Answer roe! Who's there? ( The report of a revolver rings out in the next room.) Ahl Hb (Snarling with rage) (He tries to burst the door open with his shoulder,) Shb (jIt the telephone, hysterical) Help! Help! Police! Help! (The lock of the door gives way, and Hb disappears into the next room.) io8 A HOUSE OF CARDS She (Still at the telephone; shrieking to him and to the instrument alternately ) Arthur! Don't go in! Help! Help! Arthur! Arthur! Where are you? Arthur! He (Appearing in the doorway, ashen, unnerved, trembling) Helen! She {Staggering towards him) What is it? What is it? He (Sobbing with terror) Helen! Be brave! Be brave! (He grasps her by the shoulders.) Jimmy — your husband — overheard. He killed himself! THE CURTAIN FALLS PLAYING WITH FIRE A COMEDY CHARACTERS Danny Madge Nora PLAYING WITH FIRE /T it about five o'clock of a Sunday afternoon during early summer — just before vacation times and Maogb and Nora are discovered in a kitchen, Nora etfidently belongs there, for she is a buxom, middle-aged " cook-lady," And Maoge it quite at evidently the daughter of the house. She hat reached one of the hundred ages through which a girl passes between five and ftve-and- twenty: the particular age where pigtails are as much in order at a coiffure; where a skirt may reach to the ankles, or only a little below the knees, without calling forth adverse comment; where sodas, and imitation jewelry, and boys, and ambitions to become a trained nurse and sit at the bedside of a blond young Apollo suffering from a pleasantly lingering disease are char- acteristic; the age, in short, of fifteen years, or there- abouts. She is too old to be called a child: in fact, she would resent it, and she is decidedly too young to be considered a woman. And to her tingling astonishment — and delight — the persons of the opposite sex who are now introduced to her address her as " Miss," instead of the old-time " Madge," and she is correspondingly elated — and dignified — and confused — and self-con- scious— and uncomfortable — and altogether happy. At the curtain rises Maoob is occupied at the kitchen table. Nora, placidly admiring the colored supple- III 112 PLAYING WITH FIRE ment of a Sunday newspaper, is serenely unconscious of her existence, and Madge, opening the table drawer stealthily, is enabled to satisfy herself that the con- tents (whatever it may be) is intact. She closes the drawer noiselessly, crosses to the unsuspecting cook, and flings her arms about her, Madgb Danny's coming! Danny's coming! (The cook turns a page with a sympathetic grunt,) Aren't you glad, Nora? Nora Of course I'm glad. Madge Then why don't you say so? Nora (Putting down the paper with a patient smile) He was here only yesterday, darlint. An' I've told ye eight times already. Madge Tell me again, Nora. Nora (Resignedly) Well, he's a fine little lad, is Danny PLAYING WITH FIRE iij Madoi {Imtermptiiig) He's a mm, Nori. NOftA (Acceptimi the correction) A min. Straight, an* strong, an'— an* pretty Madcb HandioiDe. Nora Handsome. An* — an* {She is running out of objectives.) Maogb Brave. Nora Of course he's brave! Why shouldn't he be? Madgi (Speaking fondly, after a P^mse) He loves me, Nora! Nora (Philosophicallf) Yes. An' he's putting me out of my own kitchen to tell ye sow 114 PLAYING WITH FIRE Madge You don't mind, do you, Nora? Nora {Thoughtfully) WcU Madgb ( Indignantly ) They make fun of us upstairs! Uncle John — and Harry — and Cynthia: Cynthia's the worst! She doesn't say a word: she just sits there and laughs — laughs/ Nora Don't mind her, darlint. Madge I don't! I won't! But I can't help it! (fVith crushing contempt.) Just because she's married! Ugh! Nora Never ye mind, dearie, never ye mind I You'll have the chance to laugh at her some day I Madge (Eagerly) Do you think so, Nora? PLAYING WITH FIRE 115 Nora HonMt! XtAonB Crots your heart? Nora ( Fert'ently ) Hope to die! Just think, when you an' Danny come ridin* up in your big automobile, honkin* the horn, an' tittin* there dressed up in fun, an' lacet, an' kid glovet, an' paten' leather shoes; wont they be madl Maogb (Ecstatically) Geel Nora An* you'H bow — just like that — (ducking her head an eighth 0/ an inch) — an* they'll open the door for ye, an' help ye out Madge You'll be there, too! Nora Why shouldn't I be? But yc won't know me. darlint. Maxx:b How can you say such a thing, Nora? (She pemttt,) Nora. ii6 PLAYING WITH FIRE Nora Yes? Madge Tell mc about your husband. Nora What do ye want to know about him? Madge When did you see him last? Nora Well, I was standin* in the door Madge And he was in the road. Nora An* he says, says he Madge I'm going away for a week, Nora, my dear. Nora Them were his very words. An* he took all my money Madge Three hundred dollars. PLAYING WITH FIRE 117 Nora Neither more nor Icti Madob And you never law him igjun! Nora Na Bad luck to him I Madob {In an awestruck voice) He married you for )'our mone)% NoftA (Noddint tmphaticallf) An' he got it I Madob (Embracing her violently) You old dear! Nora (Bntshinf her off food-humoredlf) Ah, gVan wid ye I So I'm old. am I? (She rises unih ludicrouslf unreal wrath,) Old, am I? Madob (Dancing out of her reach, and crossing her fingers) Fins! Fins, Nora! You can't touch me! ii8 PLAYING WITH FIRE Nora Can't touch ye, can I ? Maoob No! (Touching the cupboard quickly.) I'm on hunkl Nora {Thoughtfully) Well, if you're on hunk . . . {She seats herself resignedly) there's nothin' to be done. But look out ye don't leave it! {A bell rings loudly.) Madge Oh, that's Danny ! Nora, do I look all right ? Nora Let me see. {Patting a stray hair into place,) There! There! Now you're fine! {The bell rings again.) Madge Quick, answer the bell, Nora! Nora {Pausing at the door and chuckling hugely) Are ye at home to callers, darlint? PLAYING WITH FIRE 119 BiAOOl (frith ditnily) To my fUnc6 only, Norm. NotA (Bowing) Very well, roe Itdy. (She exits. Madge Je ft alone, crosses quickly to the table, and opens the drawer. She closet it again as Noma returns, opens the door, and curtseys in her best manner,) Step right in, Mr. Blyden. Danny TTiank you, Nora. (He enters. He is a nice-look- ing, clean-cut boy of Madge's age — possibly a few months younger, and he is dressed to kill. He walks carefully, so that nothing will mar the brilliant polish of his shoes, a carnation decorates his button-hole, and he is wearing a stiff white shirt in spite of the sultry weather, A heavy cane, which he swings with elabo- rate unconcern, is obt'iously the property of an elder brother. Taken all in all, he is quite a prepossessing young man, and the preternatural air of seriousness which goes with his years is by no means unattractive. He is very much in love, and terrifically in earnest about it: one is apt to be so at his age. And as ht catches sight of Maogb he whips off his hat and greets her in a tfinr a hirh is as genuine as it is self-conscious.) Madsel 120 PLAYING WITH FIRE Madge Danny! (She rushes towards him, to stop and turn reproachfully on the cook.) Nora! Nora Yes, Miss? Madge Haven't you something to attend to— outside? Nora (With a guffaw) If I hadn't forgotten all about it! (She closes the door on herself with a slam,) Danny Madge, you're simply beautiful! Oh, Danny I Madge Give us a kiss, Danny Madge! Oh. no. Madge (Shocked) Wc' re engaged. Danny PLAYING WITH FIRE lai Maooi Danny I ctn kits you ill I like. Madcb (ShaJting her head) You must wiit till we're mirried. Danny Till we're nuuried ? Madge Then you can kiss me. Danny Oh, but it may be months and months! Madge, just one! Maogb I oughtn't Danny {Persuasivelf) Qose your eyes, Madge. Madob Gosc my eyes? 122 PLAYING WITH FIRE Danny Like yesterday. Close your eyes, and I'll kiss you when you don't expect it. It's not wrong then. Madob Ohl Danny You see, you don't know when it's coming, and you can't stop me. Come on, Madge. {She closes her eyes, and throws back her head expectantly. Danny^ about to per- form, pauses to wipe his mouth impressively with a silk handkerchief.) Madge (Without opening her eyes) Why don't you kiss me? Danny {Making a hasty swoop at her lips) There! {She opens her eyes.) Did you like it? Madge Um-humh. (Virtuously) I didn't know you were going to kiss me. Danny (Proud of his scheme) Of course you didn't! PLAYING WITH FIRE laj Maogb Danny: Tin doting my eyet agiufi. Danky ( Thirty seconds aflrruards) It's nice in the kitchen, isn't it, Msdge? Madgb (Snyfgling contentedly in his arms) Um-humh. Danny And, Madge 1 Madgb Yes? Danny Isn't it grand to be in love? Isn't it fine? Maoob Is it the first time, Danny? Danny (Truthfully) Er — no. But it*s the first time I really meant it. Maogb Are you sure, Danny? 124 PLAYING WITH FIRE Danny (IViih easy superiority) You know, I'm not a boy any more. (He winces at the reminiscence.) Even though Cynthia makes fun of us. . . . She's mean ! Madge No, she isn't. Danny She isl Madge She's not mean, Danny, she doesn't know any better. Danny All right, have it your own way. (With profound contempt) Anyhow, she's married. Madge And she has a baby. Danny {Meaningly) Madge ! Madge Danny, you mustn't talk about such things. (She hides her face on his coat.) I wonder PLAYING WITH FIRE 125 Danny {§Fiik mmerm^t eomvUiwm) He'U be m bof. Madoi No. A girl! Danny I think boys are lots nicer. Madge (Stamping her foot) Danny, he'll be a girl! Danny {Yieldini mafnanimouslf) Well, suit yourself. Madgb (Radiant) Thank you, Danny. ( There is a pause.) Did you know Nora was married? Danny Yes. You told mc Maoob (Impressively) He married her for her money. He took ail she hat!- and ran away with It! 126 PLAYING WITH FIRE Danny She was standing in the door Madge And he was in the road. Danny And he said, ** Nora, my dear " Madge *' I'm going away for a week." Danny And he took all her money Madge Three hundred dollars. (Continuing quickly, and stealing Danny's line.) And she never saw him again, bad luck to him! Danny What a mean thing to do! Madge It was mean, wasn't it? {She pauses.) Danny, you wouldn't do such a thing? Danny What do you think? Of course not. PLAYING WITH FIRE la? Maooi Not even if I had lots of money? Lots and loo of it? DAHinr (Smitini) But you haven't. Madcb Oh, I have, Danny! Danny What? Madge Look. {She produces an envelope from the table drawer, and opens it. Then, with an awed note in her voice.) Bonds! Danny Arc they yours? Madgb All mine. Look : here's a green one, and two blue ones— no, three Danny {Interrupting) How did you get them? 128 PLAYING WITH FIRE Madge That would be telling. Danny Docs your father know it, Madge? Madge {Shakes her head) Oh, no. Danny {Horrified) You stole them ! Madge No. They're mine. They belong to me. And they're worth thousands and thousands of dollars. Danny {Impressed) Gee! Madge {Putting them back in the drawer) Father is changing his safe deposit company, so he brought them home over night. Danny ( fVith a mixture of admiration and fear) And you took them? PLAYING WITH FIRE 129 Madoi They're mine, aren't they? Some of thun were given to me when I was born, and cnmdpa left me one, and father bousht me tome more on my birthday. They've got my name written on them. Danny (ffhUtlmg) You'll catch it when your father finds out. Madgb {Shaking her head obstinately) They belong to me, Danny. (She pauses. Then, rather suddenly) Danny, do you love me? Danny (Surprised) Of course I do. Madge Really and truly? Danny Certainly. Why do you ask? Madob And these (she shows the envelope again) don't matter ? 130 PLAYING WITH FIRE Danny (fVounded) Why, Madge! Madge Answer me. Danny Do you think I care about them? Madge Would you love me just as much if I didn't have them? If I had nothing at all? If I was poor— oh, just as poor as I could be? Danny How can you ask it, Madge? Madge You know, a man married Nora for her money. Danny I'm not that kind, Madge. Madge And the bonds don't make any difference? You wouldn't care if I didn't have them? Danny Of course not. (And he utters that immortal line which he is destined to repeat to Madge's many suc- cessors.) I love you for what you are I PLAYING WITH FIRE iji Madob Then look I (J Mil, smJdenlf raisin i the liJ, the pops Ike tmvfiope into the stove.) Danky (Rushing toward the stovi) Madob Stop, Danny I Danny (Aghast) You don't know what you're doing 1 Maxx3B {Quietly) Yes, I know. Danny YouVe gone crazy! Madge (Barring his way abruptly) Danny, if >'0u love me it doesn't matter! Danny (Stopping as if shot) So that's why! 132 PLAYING WITH FIRE Madge (Turning away calmly) It*s finished now. They're burnt. Danny You fool, oh, you fool! (He sits dejectedly. There is a long pause,) Madge (Very earnestly) I was rich a minute ago. Now I'm poor. Will you marry me now, Danny? Danny (Rising and embracing her with intense emotion) Yes, Madge, yes, a thousand times yes! It doesn't make any difference — not the least difference in the world. I don't care what you have, or what you haven't : I love you, that's all. Madge (Is silent an instant. Then she turns to the table and produces an envelope exactly similar to the first) Look, Danny. Danny Yes? Madge This envelope. PLAYING WITH FIRE 133 Danny Well? Maogb ( Imtifrntlv) Look at it Danny (Date J) \o\i didn't burn it? Maoob Not this one. Danny What do you mean ? Madge This is the envelope I showed you first. Danny Well? Madge The other was a duplicate. The envelo{)e I put in the fire was empty. Danny And the bonds ? Madge (Opening the flap of the envelope) Here. 134 PLAYING WITH FIRE Danny (In a long-drawn gasp) Oh! Madge {Rambling on happily) I knew you loved me, Danny, but I wanted to feel sure — just as sure as could be. And it was so easy to find out! If Nora had only done something like that! If Danny {Interrupting in a peculiar voice) Did she suggest it ? Madge Oh, no! I thought it all out myself. And it's all right now, Danny, I'm sure! {She puts her arms about his neck.) I'm sure! Danny {Half to himself) No. Madge {Not noticing) It didn't take you a second to make up your mind. It was just as I hoped it would be! Danny {Interrupting) Madge, it*s not all right! PLAYING WITH FIRE 135 Maooi Why, Danny! Danny It's wrong, Madge, it't wrong! (ITi/A iern^t u- rioMtnest) You didn't trust roe! Madoi Oh, but, Danny Danny (Not dlowini her to speak) If you had trustcJ mc you never could have done tuch a thing. Madgb Burnt them up? Danny No : that wouldn't have been so bad. But you nuule me think you had burnt them up when >x>u hadn't! Madob Oh! Danny If you didn't trust me then, you can't trust me now. You will never trust me. (He takes up his hat and his enormous walking-stick with colossal dignity.) Good' by, Madge. Maogb (In agonized appeal) Danny! 136 PLAYING WITH FIRE Danny {On the threshold) You thought I cared more for your money than I did for you Madge (Seizing his hand) But I know now, Danny, Danny (Resolutely) It's too late. You cared more for your money than you did for me! Madge You think thatf Danny Yes. Madge • (With a pathetic wail) Oh, Danny! Danny If you love me — if you're not afraid that I won't take care of you (He pauses.) Madgb Yes, Danny? r I PLAYING WITH FIRE 137 Dakky You will know what to do— but )'ou won't do it Maoob What do you roein» Danny? Danny (Poiniimi at the package 0/ bonds) They don't matter if you trust me : put them in the fire. Madge Oh, Danny I Danny You burnt the empty envelope to test me. Now burn the real envelope to test yourself I Maoob Do you think I'm afraid? Danny Are you? {She shakes her head proudly.) Then ooroel (He raises the lid; MaoOE, as if hypno- tized, crosses to him, and, gazing steadily into his eyes, drops the full envelope on the coals. And Danny, with a little sigh, gathers her into his arms.) 138 PLAYING WITH FIRE Madge Let them burn, Danny! {Breaking into sobs, and resting her head on his shoulder.) Let them burn! ( There is a long pause, Somewheres in the section of the house devoted to the " grown- ups," a clock strikes the half -hour: a single, vibrating note, Somewheres, in the far dis- tance, a deep-throated church bell echoes the announcement. And somewheres, quite close at hand, an industrious student com- mences to run scales on a tin-pan-ny piano. And Danny and Madge are motionless in a long-drawn embrace. And presently they awaken to the situation,) Danny Gemini I When your father finds out ! What'U he say? Madge {Softly) I don't care, Danny. Danny Won't he be mad? Gee, mad won't be the word for it! Madge I'm not afraid, Danny. PLAYING WITH FIRE 139 Danny {Ihrror-sincken at the thought) And what'll he do to youf Maogs (IVith a trembling Up) I suppose he*ll drive me out of the house. Danny {G homily) Yes. I s*poie so. Madob {With a confident smile) But )'ou*ll take care of me, Danny 1 Danny (With immense seriousness) As long as I live, Madge! Madge (Leading him towards the inner door) Come. Danny Yes. Madge We*ll tell him. (And, hand in hand, arms entwined, trembling, yet unafraid, fearing what is to 140 PLAYING WITH FIRE come, but secure in a confidence which noth- ing, not even Time itself shall be able to shake, they leave the room together. In the few minutes which have passed they have aged, even though they do not suspect it: they have aged years I They have seen each other's souls naked, and are unashamed. Children they were but a little while ago: children they are still, but it is all mysteriously changed. Something new, something greater than anything of which they have ever dreamed, something great not only to them, but great to all others, has entered into their lives. And Danny's sturdy young arm does not quiver about Madge's waist, and there is a wonderful look in her eyes. They leave, and as they do so, the cook, an unsuspected eavesdropper, enters the room. She has been crying, for her eyes are red, and she is vigorously mopping them with a corner of her apron. Yet there is a smile on her face as she touches a match to a sheet of paper, crosses slowly to the stove, carefully removes the two uninjured en- velopes, and lights the fire.) THE CURTAIN FALLS THE FINGER OF GOD A PLAY CHARACTERS Strickland. Benson, his valet. A Girl. THE FINGER OF GOD r m fHE itung room of Stuicki^nds opartmtnt, a At the rear, a doorway, heavilf cmrtmmed, ■^ leads into another room. At the left of tkt doorway, a hay window, also heavily curtained, is set into the diafonal wall. Near the center, an ornate writing desk, upon which is a telephone. At the right, the main entrance. The furnishings, in general, art luxurious and costly. As the curtain rises SiHlCKLAND, kneeling, is hum* ing papers in a grate near the main door. Benson, Ail valet, is packing a suitcase which lies open on the writing desk. It is ten-thirty; a bitterly cold night in winter. Strickland Benson Benson! Yet, lir. Strickland Close the window: it's cold. Bknson {Goes to the window) The window is closed, sir. It's been closed all evening. t43 144 THE FINGER OF GOD Strickland {Shivers and buttons his coat tightly) Benson. Benson Yes, sir? Strickland Don't forget a heavy overcoat. Benson I've put it in already, sir. Strickland Plenty of fresh linen? Benson Yes, sir. Strickland G)llars and ties? Benson I've looked out for everything, sir. Strickland {After a pause) You sent off the trunks this afternoon? Benson Yes, sir. THE FINGER OF GOD 145 Stucklakd You're sure they can't be traced? BiNlOK I had one wafoa take them to a vacant lot, and an- other wa^on take tbem to the ttatkxi. Strickland Good! Bbnson I checked them through to Chicago. Here are the checks. {Hi hands them over,) What train do we take, sir? Strickland / take the midnight. You follow me some time next week. We mustn't be seen leaving town together. Benson How will I find you in Chicago? Strickland You won't. You'll take rooms somewhcrcs, and I'll take rooms somewheres else till it's all blown over. When I want you I'll put an ad in the " Tribune," Benson You don't know when that will be, sir? 146 THE FINGER OF GOD Strickland As soon as I think it is safe. It may be two weeks. It may be a cx)uple of months. But you will stay in Chicago till you hear from me one way or the other. You understand? Benson Yes, sir. Strickland Have you plenty of money? Benson Not enough to last a couple of months. Strickland (Producing a large pocketbook) How much do you want ? Benson Five or six hundred. Strickland ( Takes out a few bills. Stops) Wait a minute! I left that much in my bureau drawer. {He goes toward the door.) Benson Mr. Strickland? THE FINGER OF GOD 147 Stuckland Yet? Buficm It*t the midnight train for Chicago, isn't it? Stmcklakd Yet. (He goes into the next room.) Benson (H^mtt am instant. Then he lifts the telephone re- ctiver, and speaks very quietly) Hello. Murrey Hill 350a . . . Hello. This Finley? This is Benson. . . . He's going to take the midnight train for Chicago. Penns>'lvania. Vou had better arrest him at the station. H he once gets to Chicago youMl never find him. And. Finley, you won't forget me, will you? ... I want five thou- sand dollars for it. Yes, five thousand. That's little enough. He's got almost three hundred thousand on him, and you won't turn in all of that to Headquar- ters. Yes, it's cash. Large bills. (Stricrland's step is heard.) Midnight for Chicago. ( Bbnson hangs up the receiver and is hmsy with the suitcase as Strickland enters.) Strickland Here's vour monev, Benson. Count it. 148 THE FINGER OF GOD Benson {After counting) Six hundred dollars, thank you, sir. {He picks up the closed suitcase.) Shall I go now? Strickland No. Wait a minute. {He goes to the telephone.) Hello. Madison Square 7900. . . . Pennsylvania? I want a stateroom for Chicago, midnight train. Yes, to-night. Benson Don't give your own name, sir. Strickland No. The name is Stevens. . . . Oh, you have one reserved in that name already? Well, this is Alfred Stevens. . . . You have it reserved in that name? Then give me another stateroom. . . . What ? You haven't any other. {He pauses in an instant's thought. Then, decisively) : Never mind, then. Good-by. {He turns to Benson.) Benson, go right down to the Pennsylvania, and get the stateroom that is re- served for Alfred Stevens. You've got to get there be- fore he does. Wait for me at the train gate. Benson Yes, sir. Strickland Don't waste any time. I'll see you later. THE FINGER OF GOD 149 BiNSON Very well, sir. {He takes up the suitcase, and goes.) Strickland (Left alone, opens drawer after drawer of the desk systematically, dumping what few papers are stUI left into the fire. Outside a wintry gale whistles, and shakes the locked window. Suddenly there is a knock at the door. He pauses, very much startled, A little wait, and then the knock, a single knock, is repeated. He rises, goes to the door, opens it,) Strickland Who's there? I, sir. A Girl {She enters. She is young: certainly under thirty: perhaps under twenty- five: possibly still younger. A somewhat shabby boa of some dark fur encircles her neck, and makes her pallid face stand out with startling dip' tinctness from beneath a mass of lustrous brown hair. And as she steps over the threshold she gives a little shiver of com^ fort, for it is cold outside, and her thin shoulders have been shielded from the driv- ing snow by a threadbare coat. She enters I50 THE FINGER OF GOD the warm room gratefully, and little rivu- lets of melted ice trickle to the floor from her inadequate clothing. Her lips are blue. Her hands tremble in their worn white gloves, A seat before a blazing fire, or per- haps, a sip of some strong cordial — this is what she needs. But Strickland has no time for such things. He greets her with a volley of questions.) Strickland Who are you? The Girl Why, don't you remember me, sir? Strickland No. The Girl I'm from the office, sir. Strickland The office? The Girl Your office. I'm one of your personal stenographers, sir. Strickland Oh. I suppose I didn't recognize you on account of the hat. What do you u-ant? THE FINGER OF GOD 131 Thi Girl There were loine letten which ciroe late this after- noon— Strickland (Interrupiini harshly) And you're bothering roe with them now? {He crosses to the door, and holds it open,) I've got 00 time. Good night Thi Girl (Timidlf) I thought you'd want to tee these letters. Strickland Plenty of time to-morrow. Thb Girl But you won't be here to-morrow, will you? Strickland (Starting violently) Won't be here ? What do you mean ? The Girl You're taking the train to Chicago to-night. Strickland How did you know {He stops himtelf. Then, with forced ease) Taking a train to Chicago? Of course not! What put that in your head? 152 THE FINGER OF GOD The Girl Why, you told me, sir. Strickland / told you? The Girl You said so this afternoon. Strickland {Harshly) I didn't see you this afternoon I The Girl {Without contradicting him) No, sir? {She produces a time-table.) Then I found this time-table. {She holds it out. He snatches it.) Strickland Where did you find it? The Girl On your desk, sir. Strickland On my desk? The Girl Yes, sir. THE FINGER OF GOD 153 SntlCKLAND (SudJenlf €nd direct! f) You're lying! The Girl Why, Mr. Stricklindl Strickland That time-table never reached my desk! I lost it between the railroad station and my office. The Girl Did you, sir? But it's the same time-table: you see, you checked the midnight train. (He looks at ker suspiciously, ) I reserved a stateroom for you. Strickland (Astonished) You reserved a stateroom ? The Girl (Smiling) I knew you'd forget it. You have your head so full of other things So I telephoned as soon as you left the office. Strickland (Biting his lip angrily) I suppose you made the reservation in my own name? 154 THE FINGER OF GOD No, sir. The Girl What? Strickland {Immensely surprised) The Girl I thought you'd prefer some other name: you didn't want your trip to be known. Strickland No, I didn't. (J good deal startled, he looks at her as if he were about to ask, " How did you know that? " She returns his gaze unflinchingly. The question re- mains unasked. But a sudden thought strikes him.) What name did you give? The Girl Stevens, sir. Strickland {Thunderstruck) Stevens? The Girl Alfred Stevens. Strickland {Gasping) What made you choose that name? THE FINGER OF GOD 155 Thb Guu. I don't know, ur, Stricklakd Vou don't knowf Thb Girl No, ur. It WIS just the firet name that popped into my bead. I said " Stevens," and when the clerk asked for the fim name, I said " Alfred." Strickland (After a pause) Have you ever known anybody of that name? The Girl No, sir. Strickland (fFiih curious insistence) You are sure >*ou never knew anybody of that name? Thb Girl How can I be sure? I may have: I don*t remem- ber it. Strickland (Abruptly) How old arc you? (He git'es her no time to am* suer,) You're not twcnt)*, are you? 156 THE FINGER OF GOD The Girl {Smiling) Do you think so? Strickland (Continuing the current of his thoughts) And I'm forty-seven. It was more than twenty-five years ago. . . . You couldn't have known. The Girl {After a pause) No, sir. Strickland {Looking at her with something of fear in his eye) What is your name? The Girl Does it matter? You didn't recognize my face a few minutes ago: my name can't mean much to you. I'm just one of the office force: I'm the girl who an- swers when you push the button three times. {She opens a handbag.) These are the letters I brought with me. I Strickland {Not offering to take them) What are they about ? THE FINGER OF GOD 157 Thi Gikl {Opff^ing ike fini) This is from a woman who wants to invest some money. Stuck LA s'D How much? Thb Gull Only a thousand dollars. Strickland Why didn't you turn it over to the clerks? Thb Girl Tlie savings of a lifetime, she writes. Strickland What of it? Thb Girl She wTotc that she had confidence in you. She says that she wants you to invest it for her yourself. Strickland You shouldn't have bothered me with that. (He pauses,) Did she inclose the money? Thb Girl Yes. A certified check. (She hands it over to him,) 158 THE FINGER OF GOD Strickland (Taking the check, and putting it in his pocketbook) Write her — oh, you know what to write: that I will give the matter my personal attention. The Girl Yes, sir. She says she doesn't want a big return on her investment. She wants something that will be perfectly safe, and she knows you will take care of her. Strickland Yes. Of course. What else have you ? The Girl A dozen other letters like it. Strickland All from old women? The Girl {Seriously) Some of them. Here is one from a young man who has saved a little money. He says that when he gets a little more he's going to open a store, and go into business for himself. Here is another from a girl whose father was an ironworker. He was killed acci- dentally, and she wants you to invest the insurance. Here is another from — but they're all pretty much alike. THE FINGER OF GOD 159 Stiuckland Why did you bring them here ? The Goll Every one of these letten itks you to do the invest- ing yourself. Strickland Oh! The Girl And you're leaving tou'n to-night. Here are the checks. {She passes thtm over,) Every one of them is made out to vou personallv: not to the firm. Strickland (After a pause) You shouldn't have come here. ... I haven't time to bother with that sort of thing. Every man who has five dollars to invest asks the head of the firm to attend to it himself. It means nothing. I get hun- dreds of letters like those. The Girl Still Strickland What? The Girl You must do something to deserve such letters or they wouldn't keep on coming in. (She smiles,) It's a wonderful thing to inspire such confidence in people ? i6o THE FINGER OF GOD Strickland Do you think so? The Girl It is more than wonderful! It is magnificent! These people don't know you from Adam. Not one in a hundred has seen you: not one in a thousand calls you by your first name. But they've all heard of you : you're as real to them as if you were a member of their family. And what is even more real than you is your reputation! Something in which they rest their abso- lute confidence: something in which they place their implicit trust! Strickland (Slowly) So you think there are few honest men ? The Girl No: there are many of them. But there is some- thing about you that is different: something in the tone of your voice: something in the way you shake hands: something in the look of your eye, that is reassuring. There is never a doubt — never a question about you. Oh, it's splendid! Simply splendid! (She pauses.) What a satisfaction it must be to you to walk along the street and know that everyone you meet must say to himself, "There goes an honest man!" It's been such an inspiration to me! THE FINGER OF GOD 161 Strickland To youf Thi Girl Oh, I know that Vm just one of the office force to 3rou. You don't even know my nime. But you doci*t imaipnc that anyone can see you as I have seen ymi» can work with you as I have worked with you, without there being some kind of an effect ? You know, in my own troublea Strickland (Interrupting) So fOM have troubles? The Girl You don't pay me a very big salary, and there are others whom I must help. But I'm not complaining. {She smiles.) I — I used to be like the other girls. I used to watch the clock. I used to count the hours and the minutes till the day*s work was over. But it's different now. Strickland (Shwh) How — difTrrrnt? Thb Girl I thought it over, and I made up my mind that it wasn't right to count the minutes you worked for an i62 THE FINGER OF GOD honest man. (Strickland turns away.) And there is a new pleasure in my work: I do my best — that's all I can do, but you do your best, and it's the least I can do. Strickland {After a pause) Arc you sure — I do my best? Are you sure I am an honest man? The Girl Don't you know it yourself, Mr. Strickland? Strickland (After another pause) You remember — a few minutes ago, you spoke the name of Alfred Stevens? The Girl Yes. Strickland Suppose I told you that there once was an Alfred Stevens? {The girl does not answer.) Suppose I told you that Stevens, whom I knew, stole money — stole it when there was no excuse for it — when he didn't need it. His people had plenty, and they gave him plenty. But the chance came, and he couldn't re- sist the temptation. ... He v.'as eighteen years old then. THE FINGER OF GOD 163 Only a boy. Thb GaiL (Gently) SnUCKLAKD Only a boy, yes, but he hid the diibooest ttreik in him! Other boyt paised by the tame opportunity. Stevens didn't even know what to do with the roooey when he had stolen it. They caught him in lest than twenty-four hours. It was almost funny. The Girl He was punished. SntlCKLAKD (Nodilini) He served a year in jail. God! What a year! His folks wouldn't do a thing for him: they said such a thing had never happened in the family. And they let him take the consequences. (He pauses.) When he got out — (stopping to correct himself) — when he was let out, his family oflFered him help. But he was too proud to accept the help: it hadn't been offered when he needed it most He told his family that he never wanted to see them again. He changed his name so the>' couldn't find him. He left his home town. He came here. The Girl And he has been honest ever since! i64 THE FINGER OF GOD Strickland Ever since: for twenty-eight years! It was hard at times, terribly hard! In the beginning, when he had to go hungry and cx)ld, when he saw other men riding around in carriages, he wondered if he hadn't made a mistake. He had knocked about a good deal ; he had learnt a lot, and he wouldn't have been caught so easily the second time. It was almost worth taking the chance! It was almost worth getting a foot of lead pipe, and waiting in some dark street, waiting, waiting for some sleek honest man with his pockets full of money! It would have been so simple! And he knew hoivf I don't know why he didn't do it. The Girl Tell me more. Strickland He managed to live. It wasn't pleasant living: it wasn't even decent living. But he stayed alive! I don't like to think of what he did to stay alive: it was humiliating; it was shameful, because he hadn't been brought up to do that kind of thing, but it was honest. Honest, and when he walked home from his work at six o'clock, walked home to save the nickel, his betters never crowded him because they didn't want to soil their clothes with his honest dirt 1 He had thought the year in jail was terrible. The first year he was free was worse. He had never been hungry in jail. Tlit FINGER OF GOD i6$ Thb Gul Tlicn \m chance Stmcrland Yci, it war a chance. He found a puree tn the gut- ter, and he letumcd it to the owner before he had made up hit mind whctlier to keep it or not. So they said he was honest 1 He knew he wasn't 1 He knew that he had returned it because there was so much money in it that he was afraid to keep it, but be never told them that. And when the man who owned the purse gave him a job, he worked — worked because be was afraid not to \ix>rk — worked so that he wouldn't have any time to think, because he knew that if he began to think, he would begin to steal! Then they said he was a hard worker, and they promoted him: they made him manager. That gave him more chances to steal, but there were so many men watching him, so many men anxious for him to make a slip so that they might climb over him, that he didn't dare. (He pauses,) Thb Girl And then? Strickland The rest was easy. Nothing succeeds like a food reputation, and he didn't steal because he knew they'd catch him. (He pauses aimn.) But he wasn't bonert atbottomi The rotten streak was still there! After i66 THE FINGER OF GOD twenty-eight years things began to be bad. He specu- lated : lost all the money he could call his own, and he made up his mind to take other money that wasn't his own, all he could lay his hands on, and run off with it! It was wrong! It was the work of a lifetime gone to hell! But it was the rottenness in him coming to the surface! It was the thief he thought dead coming to life again I The Girl {After a pause) What a pity ! Strickland He had been honest so long — he had made other people think that he was honest so long, that he had made himself think that he was honest! The Girl Was he wrong, Mr. Strickland? Strickland {Looking into her eyes; very quietly) Stevens, please. {There is a long pause.) I don't know what sent you: who sent you: but you've come here to-night as I am running away. You're too late. You can't stop me. Not even the finger of God Him- self could stop me! I've gone too far. {He goes on in a voice which is low, but terrible in its earnestness.) Here is money! {He pulls out his pocketbook.) Hundreds of thousands of it, not a cent of it mine! THE FINGER OF GOD 167 And Tin ttemlins it, do you undcrtiand me? Sudimi %x\ ToHnorrow the firm will be bankrupt, and there'll be a reward out for me. (He tmiles ifimly, and hwvs,) Here, if you please, is your honest manl What have you to uy to him ? The GnL (Very quietly) The man who has been honest so long that be has made himself think that he is honest cam'i steal I Stricklakd (Hoarsely) You believe that? The Girl (Openinf her hag again) I was left a little money this week: only a few hun- dred dollars, hardly enough to bother you with. Will )'ou take care of it for me — Alfred Stevens? Strickland GoodGodI (/I mi utterly unnerxed he collapses to € chcir. There is a long pause.) The Girl (Crossing slowly to the window, amd drmvimg aside the curtain) Look! What a beautiful night 1 The thousands of sleeping houses! The millions of shining stars! i68 THE FINGER OF GOD And the lights beneath ! And in the distance, how the stars and the lights meet! So that one cannot say: " Here Gods ends; Here Man begins." (The telephone rings, harshly, and shrilly, Strickland goes to the receiver,) Strickland (Quietly) Yes? . . . You're afraid I'm going to miss the train? . . . Yes? Well, I'm going to miss the train! ... I'm going to stay and face the music! {Hysterically,) I'm an honest man, d'ye hear me? I'm an honest man. (/4nd furiously, he pitches the telephone to the floor, and stands panting, shivering, on the spot. From the window a soft radiance beckons, and trembling in every limb, putting out his hands as if to ward off some unseen obstacle, he moves there slowly,) Did you hear what I told him? I'm going to make good. I'm going to face the music! Because I'm an honest man! An honest man! (He gasps, stops abruptly, and in a sudden panic-stricken movement, tears the curtains down. The window is closed — has never been opened — but the girl has vanished. And as Strickland, burying his face in his hands, drops to his knees in awe, THE CURTAIN FALLS A FEW RECENT PLAYS BY AMERICANS ■mUIi WL Dls't ACROSS THE BOIDCR A pUy agsinst war. •>ho\%irK' >n four tetnet, two 'beyond the border** of life, the adventure* ol a highly likable youaff LieutenanL He goes on a desperate nritrion. nodf The Place of Quiet and The Drrum (^rl. at well as The Place of WiimU where he leami the real luiurc of War» and fbially in a field hospital tries to deliver hU message. With 2 iflttiiratkNM. 80 cents net Nrm York THbmm0: -Om of IW f vw piM for MM.lhM toadi M tW hmn and ite lililHaiiri . . . Itt rt—rtaWThlfdit •! mhi 5? r^ 'f»%«ruaynrsrBr tsr, strrw Of the author's "Aluson's Lad" and other one-act plajrs of various wars ($1 JS net). The Transcript said, "TTie tech- nical mastery of Miti Dix is great. Init her spiritual mastery is greater. For this book lives in the memory.** Pif«Kal L. WifaW'a DAWN and Oth«r Oo*-Act PUyt "Short, sharp and decisive*' episodes of contemporary life. Notable for force, interest and at times humor. %\2Q net DAWN, a tense episode in the hut of a brutal miner, with a supernatural climax. THE NOBLE LORD, a comedy about a Udy. who angled with herself as bait THE TRAITOR is discovered by a ruse of a British command- ing officer. A HOUSE OF CARDS, about a dosed door, and what was on the other side-tragic PLAYING WITH FIRE, a comedy about the devotion of a boy and girt THE FINGER OF GOD points the way to an ex-criminal by meams of a girl he had never seen before. Ukf A. Ucig't RADlSSONt Th9 Voymgtar A highly pictnresoue play in four acts and in verse. The central figures are Radisson the redoubtable voyageur who explored the Upper Mississippi, his brother-in-law Grosetl- liers. Owera the daughter of an Indian chief, and various other Indians. The daring: resource of the two white men in the face of imminent penl, the pathetic love of Owera, and above all, the vivid pictures of Indian life, the women grind- ing com, the cooodi, dances, feasting and famine are notable features, and over it all is a somewhat unusual feeling for the moods of nature which closely follow those of the people involved. 11.00 net. HENRY HOLT AND COMPANY PUBUSQERS NSW YORK CLARK'S CONTINENTAL DRAMA OF TO-DAY-Outline. for lU Study By Barrett H. Clark, Editor of and Translator of two of the plays in "Three Modern French Plays." 12mo. $1.35 net. Suggestions, questions, biographies, and bibliographies for use in connection with the study of some of the more import- ant plays of Ibsen, Bjornsen, Strindderg, Tolstoy, Gorky, TcHEKOFF, Anureyeff, Hauptmann, Sudermann, Wedekind, Schnitzler, Von Hoffmansthal, Becque, Le Maitre, Lave- DAN, DONNAY, MaETERLINCK, RoSTAND, BrIEUX, HeRVIEU, GiAcosA, D'Annunzio, Echegaray, and Galdos. In half a dozen or less pages for each play, Mr. Qark tries to indicate, in a way suggestive to playwriters and students, how the skilled dramatists write their plays. It is intended that the volume shall be used in connection with the reading of the plays themselves, but it also has an inde- pendent interest in itself. Prof. Willicm Lyon Phelps of Yale: **. . . One of the most useful works on the contemporary drama. . . . Extremely practical, full of valuable bints and suggestions. . . ." Providence Journal: "Of undoubted value. ... At the com- pletion of a study of the plays in connection with the 'Outline' one should have a definite knowledge of the essentials of dramatic tech* nique in general, and of the modern movement in particular." Sixth Edition, Enlarged and with Portraits HALE'S DRAMATIST'S OF TO-DAY By Prof. Edward Everett Hale, Jr., of Union College. Rostand, Hauptmann, Sudermann, Pinero, Shaw, Phillips, Maeterlinck "A Note on Standards of Criticism," "Our Idea of Tragedy," and an appendix of all the plays of each author, with dates of their first performance or publication, complete the volume. $1.50 net. New York Evening Post: "It is not often nowadays that a theatrical book can be met with so free from giish and mere eulogy, or so weighted by common sense ... an excellent chronological appendix and full index . . . uncommonly useful for reference." Brooklyn Eagle: "A dramatic critic who is not just 'busting* himself with Titanic intellectualities, but who is a readable dramatic critic. . . . . Mr. Hale is a modest and sensible, as well as an acute and sound critic . . . Most people will be surprised and delighted with Mr. Hale's simplicity, perspicuity and ingenuousness." HENRY HOLT AND COMPANY PUBLISHERS NEW YORK Fanny Cannon's WRITING AND SELLING A PLAY Probably the mott common«fcnsc and praaicml book on its subject, which the author knows from the inside at actress, inanagercM, playwright, and *'play*doaor." She was for yean Vice-Praident of llic Actors* Sodcty of America. This book warns the writer of the many "breaks" that cause rejection, gives detailed constructive advice, tells him how to look out for his rights, includes a model con- tract, two deuiled tcenarioa, and a bibliography of refer- ence books and playt. lamo. With full index. $1.50 net. HiirtforJ CoMrami: **. . . this rare book ... the author hat the Intont she would convey at tongue's end and in orderly brain arrangement . . . She teaches so lucidly and with per- tonal fatcinatioo. • . .** PfviJence Journml: **. . . ought to do real Rood. The au- thor not only hat practical experience, the hat a genuine artittic at well at common tente. . . . One may conictentioutly recom- mend it at fulfilling its purpote admirably." Archibald Henderson's THE CHANGING DRAMA By the author of George Bernard Shav: U'u Life mud IFprh, European Dramatists, etc jai pp. larao. $1.50 ncL It includes: Drama in the New Age; The New Criti- cism and New Ethics; Science and the New Drama; Realism and the Pulpit Stage; Naturalism and the Free Theatre; The Battle with Illusions; The Ancient Bond- age and the New Freedom ; The New Technic; The Play and the Reader; The Newer Tendencies, etc. • • • Descriptive circular with sample pages on application. Nevf York Tribune: **. . . Detervet the teriotis atttotioo of all ttudentt of the modern drama. . . . The first adcQSalt tvr- vey of that drama't linked contctout effort, th«> world owwr, lo hold up the mirror to our new contdoutnett < al free- dom and of collective social retpontibility for and evil ... not only the first book in itt field; in the complrtenctt of iti tcope, the tcholarly, well-balanced thoroughness of the treat- ment of its material, it is likely to remain the standard work as well for some time to come . . . one of the small number of books on the modern drama which the teriout ttudent cannoC afford to leave unread.** HENRY HOLT AND COMPANY PUBLISHERS NEW YORK By GEORGE MIDDLETON POSSESSION With The Groove, The Black Tie, A Good Woman, Circles and The Unborn. One-act American Plays. (Just pub- lished.) $1.35 net. These plays respectively concern (1) A divorced couple and their little girl ; (2) A girl's wish to escape village monotony ; (3) a woman's reputation and a man's public usefulness; (4) The quiet tragedy of a mulatto maid; (5) A mother's sacrifice to keep a home for her daughter, and (6) How an unknown woman brought a message to a young couple. EMBERS With The Failures, The Gargoyle, In His House, Ma- donna and The Man Masterful. One-act American Plays. $1.35. KiciiAKD BuiTON_, in Tht Bellman: "Embers is a volume of sketches which show the trained hand of the expert and are, moreover, decidedly interesting for their psychological value." P»oF. William Lyon Phelps of Yale: *The plays are admirable; the conversations have the true style of human speech, and show first-rate economy of words, every syllable advancing the plot. The little dramas are full of cerebration, and I shall recommend them in my public lectures." TRADITION With On Bail, Mothers, Waiting, Their Wife and The Cheat of Pity. One-act American Plays. $1.35. New York Times: Mr. Middleton's plays furnish interesting read- ing. . . . The author deserves praise for his skill and workmanship . . . succeeds admirablv as a chronicler of striking events and as an interpreter of exceptional people in exceptional circumstances." NOWADAYS A three-act comedy of American Life. $1.00. The Nation: "Without a shock or a thrill in it, but steadily interest- ing and entirely human. All the characters are depicted with fidelity and consistency; the dialogue is good and the plot logical." Alios Stonk Blackwell, in Woman's Journal: "The spirit of the Twentieth Century is in his plays and also a spirit of justice ani gencr- osity towards women." HENRY HOLT AND COMPANY PUBUSHERS NEW YORK PS 35H5 I33D39 1915 C.I ROBA